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LONDON'S NATIONAL THEATRE IN HD: FOLLIES
Great Barrington, 2 p.m.
Stephen Sondheim’s legendary musical is staged for the first time at the National Theatre and broadcast live to cinemas. New York, 1971. There’s a party on the stage of the Weismann Theatre. Tomorrow the iconic building will be demolished. Thirty years after their final performance, the Follies girls gather to have a few drinks, sing a few songs and lie about themselves. Tracie Bennett, Janie Dee and Imelda Staunton play the magnificent Follies in this dazzling new production. Featuring a cast of 37 and an orchestra of 21, it’s directed by Dominic Cooke (The Comedy of Errors).
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MET OPERA LIVE IN HD: ADèS’ THE EXTERMINATING ANGEL ENCORE
Great Barrington, 1:00 p.m.
The Exterminating Angel has its Met premiere this season, conducted by the composer, Thomas Adès. The 2016 opera, co-commissioned by the Met and sung in English, is based on the screenplay by Luis Buñuel and Luis Alcoriza for the acclaimed 1962 Buñuel film.
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THE SUNDANCE THEATER LAB
North Adams, 8 p.m.
The renowned Sundance Institute returns to MASS MoCA with its two-week Theatre Lab. The residency includes, as always, a work-in-progress showing. MASS MoCA, North Adams, Mass.
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FORKLIFT DANCEWORKS WITH WILLIAMS COLLEGE DINING SERVICES STAFF: SERVED
Williamstown, 8 p.m.
Inspired by the movement of everyday life, Forklift Danceworks creates civic spectacles with unlikely performers. Throughout the academic year, Forklift will lead the creation of Served—a dance for and by Williams College Dining Services Staff, illuminating the nearly non-stop movement of campus dining halls. Co-authored with participating staff and students, Served aims to address equity and build connection through a community-based dancemaking process. Since 2001, Forklift Danceworks has pursued its mission of engaging diverse communities through choreography, using movements from daily life and casting community members as primary performers. Through its projects, Artistic Director Allison Orr and Associate Choreographer Krissie Marty have earned critical acclaim and a host of awards, including Best Choreographer of 2016 by The Austin Chronicle and Most Outstanding Choreographer of 2013 by the Austin Critics’ Table. 62 Center
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FORKLIFT DANCEWORKS WITH WILLIAMS COLLEGE DINING SERVICES STAFF: SERVED
Williamstown, 8 p.m.
Inspired by the movement of everyday life, Forklift Danceworks creates civic spectacles with unlikely performers. Throughout the academic year, Forklift will lead the creation of Served—a dance for and by Williams College Dining Services Staff, illuminating the nearly non-stop movement of campus dining halls. Co-authored with participating staff and students, Served aims to address equity and build connection through a community-based dancemaking process. Since 2001, Forklift Danceworks has pursued its mission of engaging diverse communities through choreography, using movements from daily life and casting community members as primary performers. Through its projects, Artistic Director Allison Orr and Associate Choreographer Krissie Marty have earned critical acclaim and a host of awards, including Best Choreographer of 2016 by The Austin Chronicle and Most Outstanding Choreographer of 2013 by the Austin Critics’ Table. 62 Center
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ARS NOVA + LIGHTNING ROD SPECIAL: UNDERGROUND RAILROAD GAME
Williamstown, 8 p.m.
Created by Jennifer Kidwell & Scott R. Sheppard, Directed by Taibi Mager Named one of the top ten theatre experiences of 2016 by the New York Times, Underground Railroad Game is a vivid, piercing piece of experimental performance from Philadelphia-based company Lightning Rod Special. Over its rapid-fire 75 minutes, the piece toes the line between sketch comedy show and excruciating American history lesson, set in a middle school classroom. Lightning Rod Special’s raucous performance earned them the 2017 Obie Award for Best New American Theatre Work, one of the highest honors in the field. By tearing down barriers of political correctness and challenging the contemporary liberal interracial dialogue, Underground Railroadexcavates hidden—and often ugly—truths about race, identity, and historical memory. 62 Center
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